【Japanese Pottery】Understanding “Scenery” in Japanese Ceramics: Glaze Effects & Kiln Transformations

Table of Contents

• 1. What is the "Landscape" (景色, keshiki) of Ceramics?
• 2. The Aesthetic Concept of "Keshiki" (景色) in Ceramics
• 3. Can Cracks Also Be Considered "Keshiki"?

1. What is the "Landscape" (景色, keshiki) of Ceramics?

Ceramics are created by firing shaped clay in the flame of a kiln. The Japanese word yakimono (やきもの) literally refers to objects that are fired in flames. The visual transformations of glazes and clay bodies (胎土, taido) that occur as a result of this firing process are referred to as keshiki (景色, landscape).

For example, when high temperatures cause the glaze to melt and flow down the surface of a piece, that flowing appearance is called keshiki. Or if the flames directly hit a part of the piece, causing a darkened scorch mark, that scorched section is also considered part of the keshiki. In other words, keshiki describes the unique surface expressions that arise from the firing process.

Scenery Born from Flame

View the products used in this image.

In particular, the flames of a wood-fired kiln (薪窯, makigama) produce completely different ceramic surfaces each time the kiln is fired. The flames heat the chamber and the pieces inside, and the accumulated heat from both the kiln and the ceramics helps to fire other pieces nearby.

Therefore, factors such as the type of clay or glaze, the arrangement of pieces inside the kiln, the quantity of firewood, and the duration of the firing (these being internal kiln variables) all result in unique outcomes each time.

In addition, external variables such as air temperature and humidity also influence the results. Ultimately, the outcome of the firing process is entrusted to a degree of chance that lies beyond human control. This element of unpredictability is what makes ceramics both difficult and fascinating—it brings uncertainty, excitement, and joy when a successful piece emerges from the kiln.

No two pieces ever turn out exactly the same. These differences, shaped by both internal and external factors, become each ceramic work’s individuality. The glaze melts in distinct ways on each piece, and even the clay body (胎土, taido) shows different textures and surface qualities depending on how it was fired.

The Flow of Ash Glaze as Landscape

For instance, consider a piece glazed with ash glaze (灰釉, haiyu). When fired at high temperatures, the glaze melts and flows down the surface, forming natural patterns. As shown in the image, this flow becomes part of the keshiki. Japanese aesthetic sensibility regards even the movement of glaze as a subject of appreciation.

2. The Aesthetic Concept of "Keshiki" (景色) in Ceramics

The idea of keshiki (景色), or “landscape,” in ceramics is often said to reflect a uniquely Japanese sensibility. This is because, in traditional Chinese ceramics, the flowing of glaze was not typically considered a desirable feature.

In Chinese ceramic traditions—such as those seen in tenmoku (天目), celadon (青磁, seiji), or white porcelain (白磁, hakuji)—a refined form and an even, elegant glaze finish were highly esteemed. In contrast, Japanese ceramics, particularly the medieval wares of the Six Ancient Kilns (中世六古窯, chūsei rokkoyō), valued the beauty of natural ash glaze (自然釉, shizen'yū) that formed during wood-firing.

Example of Natural Glaze
Japanese appreciation often regarded the naturally flowing ash glaze as a charming and emotional form of decoration.

In this way, Chinese ceramics pursued symmetry and perfection, whereas Japanese ceramics embraced imperfections in form and the spontaneous flow of glaze as expressions of natural beauty.

3. Can Cracks Also Be Considered "Keshiki"?

Interestingly, Japanese aesthetes even came to view cracks as a form of keshiki. For example, the tea bowl known as Shiba no Iori (柴庵), once owned by Sen no Rikyū (千利休) and now housed in the Tokyo National Museum, and Yaburebukuro (破袋), gifted by Furuta Oribe (古田織部) and now in the Gotoh Museum, both feature prominent cracks.

In the context of Chinese ceramics, such cracks may have been considered defects. However, in Japan, even cracks and later repairs—such as with lacquer (漆, urushi)—were celebrated as part of a piece’s character and aesthetic charm.

Cracked Ido Tea Bowl
The crack may resemble a mountain ridge, while the glaze stains and flow suggest drifting clouds!

Additionally, during the Muromachi to Momoyama periods, Japanese tea practitioners began using simple, everyday bowls and dishes from Korea as tea wares. They admired the honest and natural craftsmanship of Korean ceramics from the Goryeo (高麗) and Joseon (李朝, Richō) dynasties. The group of wares known as Kōrai chawan (高麗茶碗) exemplifies the types of pieces that were especially treasured by Japanese collectors.

In this way, Japanese appreciation of ceramics has long emphasized changes in glaze tone (釉調, yūchō) and clay body (胎土, taido) brought about through firing as forms of keshiki, or scenic beauty. The overall keshiki—including the piece’s shape, surface texture, and glaze flow—is often the first thing to observe. From there, you may come to discover deeper and more personal landscapes in the finer details of the work.